Afterpop: La literatura de la implosión mediática (Compactos Anagrama) ( Spanish Edition) – Kindle edition by Eloy Fernández Porta. Download it once and read. Eloy Fernández Porta has 14 books on Goodreads with ratings. Eloy Fernández Porta’s most popular book is Afterpop. Nacido en el distrito barcelonés de Sarrià en , Eloy Fernández Porta se licenció en Humanidades por la Universidad Pompeu Fabra de Barcelona, donde.
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Eloy Fernández Porta
Palomo Thursday 6th December at 7. The essay, written in an autobiographical register, refers to a dramatic situation that took place the morning after my arrival in the town of Durham North Carolinawhere I spent a year for work reasons. This situation, which in the text acts as a trigger, and occupies two pages, has been re-imagined, expanded and converted into a theatrical venture conceived as a piece in three acts, with no interval, though there is a short pause for costume changes.
In acts 1 and 3, I recite, with alterations, three sections of the book; the central act is new. The work is conceived as a performance on stage and in front of a projector which will display 33 images, all of which are artworks related to the text, and which clarify it at some points — see the list at afterpol end.
Books by Eloy Fernández Porta
The elements on stage are small, but also numerous and striking, ranging from the successive changes of costumes and the appearance of the single actor myselfto a long series of objects, which include, among many others, a recorded musical cassette tape, and a collection of merchandise from Subway sandwich shops, converting the stage into the exterior terrace of the restaurant.
The performance has several notable changes of register.
It begins in a dramatic tone and evolves towards a comic tone which lasts a good part of the play, until it arrives at a brief closure in a more elegiac tone. In order to perform this thematic repertoire, I open myself out throughout the piece into three characters, through successive changes in costume, gesture and language.
The first act pota the most autobiographical, that of the Spaniard who fsrnandez his arrival in the New World realistically, and who occupies the entire first act in the form of a monologue, with an odd interruption by another voice.
Afterpop – Editorial Anagrama
The second act, on the other hand, is organised as a lively dialogue in which I interpret two other characters. The first one is like a derivation of the previous one, turned into a displaced and satirical version of “the European in the Sfterpop States.
In order to develop the two characters in the second act, I have worked particularly on the English language, making a fernajdez of tests with audiences of various ages who have a rudimentary and limited level of the language. The work consists, on the one hand, of reducing the vocabulary to terms and expressions which may be easily understood by a relatively unschooled audience; while on eloh other hand, of developing a tone of “English spoken poorly by a Spanish-speaker”, with literal translations and a very marked accent, resulting in a text that a North American could not understand well, but which a Spanish speaker, regardless of level, may follow perfectly.
Eloy Fernández Porta (Author of Afterpop)
It also consists, of course, of using gesture to explain things that would otherwise require a more sophisticated vocabulary, and, continually, in the insertion, affterpop the Spanish character, of phrases in Spanish, and on the part of the American, of badly understood but understandable Spanish expressions.
So, the second act “is not in English”, but in one of the dialogues, which ends up in Spanish, English tones and words which any Spanish person may hear through the media are very consciously used, drawing upon my 25 years of teaching experience working in both languages and with students of very different levels.
One way to explain this process would be as follows; it is as if the “method” with which the famous Toreros Muertos song On The Desk was written, had been further developed, expanding the lyrical possibilities, along with the comic possibilities, of speaking a foreign language badly but understandably, always mindful of a general audience with a certain level of comprehension, but which has not necessarily studied English at school.
Not forgetting that the extended use, on the street and on the Internet, of the English language in its basic forms, is today, obviously, far more widespread than it was inwhen Pablo Carbonell presented, with great success, On the Desk.
I have made the above comments in order to specify, as much as possible, the dynamics of the performance. I do not think it is necessary to announce it as “a performance containing a section in English” because this would give an erroneous idea of what really happens.
In fact, if a North American were drawn to the performance by that phrase, they might say afterwards that the language I used is not English itself, and that sometimes the English is lost, something that would ferhandez happen with a member of the audience for whom English is their third language.
Inversions of his books were published in spoken word format.
His work in performing his essays also led him in the direction of working in video: